“Guardians” of Signatures? Future Directions in Pacific History from a Pacific Early Career Academic in Aotearoa

As a Pacific early career academic sitting between history and Pacific studies, I see unresolved tension concerning the lack of prioritisation of Pacific voices in Pacific history. In this article I explore how Pacific voices are included in the writing and teaching of Pacific history to establish that this is a continuing and unresolved issue. To do this, I survey articles in the Journal of Pacific History between 2015 and 2020 to trace the inclusion and prevalence of Pacific voices through authorship and prioritisation of historical evidence, alongside analysis of the teaching of Pacific history in universities in Aotearoa.

Imaging a colonial presence : a photograph album of the S.M.S. Bismarck South Pacific Expedition 1878-1800

This thesis examines the expeditionary photographs taken in association with the S.M.S. Bismarck and commercial photographs by the Dufty Brothers in the nineteenth century South Pacific. It is not a study of the culture and lives of South Pacific peoples, but rather of the nineteenth century European society, culture, and imperial benevolence that led to their production and collection into this album. The photography that is included in this study reflects the prevailing culture of capitalism and colonialism of the nineteenth century and demonstrates influences from anthropological science, art, studio and commercial photography. By placing these images within the context of photographic history, South Pacific history, and European colonialism of the late nineteenth century, they can be assessed against the notion that photographs occupy a temporal space that is fractured by its very nature and mode of production, but also by its representation of events, people and landscapes.

Imaging a colonial presence : a photograph album of the S.M.S. Bismarck South Pacific Expedition 1878-1800

This thesis examines the expeditionary photographs taken in association with the S.M.S. Bismarck and commercial photographs by the Dufty Brothers in the nineteenth century South Pacific. It is not a study of the culture and lives of South Pacific peoples, but rather of the nineteenth century European society, culture, and imperial benevolence that led to their production and collection into this album. The photography that is included in this study reflects the prevailing culture of capitalism and colonialism of the nineteenth century and demonstrates influences from anthropological science, art, studio and commercial photography. By placing these images within the context of photographic history, South Pacific history, and European colonialism of the late nineteenth century, they can be assessed against the notion that photographs occupy a temporal space that is fractured by its very nature and mode of production, but also by its representation of events, people and landscapes.

Settling the Soul through Va' (Relational) Ethics: An Ekphrastic Review of Hinekura Smith's "Whatuora: Theorizing 'New' Indigenous Methodology from 'Old' Indigenous Weaving Practice

This piece is layered unapologetically with indigenous ways of being as the norm. From Fetaui’s bio, she aligns herself with Hinekura’s decolonization locale. The positioning of the author’s parents also connects and honours Hinekura’s mother who is instrumental in Whatuora. The migration of Fetaui’s parents from Samoa highlights the importance of our Pacific history and where our ancestors both Māori and Samoa traversed our Moana/Vasa(ocean). This migration and positionality is significant in aligning Samoa as respectful cousins to the land of Māori, Aotearoa, notwithstanding the birth place of her parents and of her ancestors bones in Samoa. Her chosen life partner and children are also named and her position within higher education is last. Our whanau/aiga (family) our whenua/fenua (land) are our collective priorities. Our academic credentials are ranked last.